donderdag 3 mei 2012
vrijdag 23 december 2011
Statement 21 December - Message from our leader!
Statement 21 December
Thank you for a fantastic US-Mexico tour. I am anchored, delighted, and pale with gratitude. The reception in Mexico was beyond words. No attempt to describe could do justice.
Most stirring of all:
1 CHICAGO, US
2 MEXICO CITY, Mexico (second night)
3 MEXICO CITY, Mexico (first night)
4 PUEBLA, Mexico
5 GUADALAJARA, Mexico (first night)
6 MONTERREY, Mexico
7 SANTA FE, US
8 LAS VEGAS, US
9 GUADALAJARA, Mexico (second night)
10 PHOENIX, US
BELLY FLOP: the Shrine, Los Angeles. When it goes wrong, it certainly goes wrong, and this venue is an open slum. Degradingly, the front of the hall is an orchestra pit so lowered that I found myself singing to a mass of hair. The people at the front - who possibly paid the most - were quite literally down a hole. It was embarrassing for me, and surely humiliating for them.
I stopped the show at the Royal Oak Theater in Michigan in consideration of the audience - who were being unashamedly assaulted by the in-house security. It is difficult to watch this happen, especially when our friends (such as Douglas) are being forcibly choked to death simply for being there. If such attacks happened at the opera or in a night-club, the victims would rightfully sue. Strangely, in-house security sense that they have freedom to manhandle patrons of 'rock' shows. I wonder why? You all know how to contact the Royal Oak Theater. The Head of Security at the Royal Oak was the one inflicting the most damage. He obviously thought he was still down at the abattoir - or wished he were.
We had been over-cautioned so continuously about dangers in Mexico, yet we met nothing at all but great support and warmth. The audiences were the most loving (and loud) that I have ever experienced. Everywhere we went people were very gracious, and eager to help. It was a dream tour, and we all felt that we were resolutely home, burdened only by the practicalities of wondering how soon we could return.
We all enjoyed the Conan O'Brien Show, especially after the sinking loss of the Jimmy Kimmel Show being dropped. We only had one other free night to do the show, so Jimmy asked his booked guests 'Lady A' if they would switch their slot so that we could fit in; but they refused. Oh.
I now no longer expect to live long enough to experience an offer to record for a grownup label. This topic would not sound quite so banal had I not mentioned it 47 times already. I promise I will not mention it again. The world, I expect, will somehow endure, even as the follow-up to 'Years of refusal' grows less and less likely. End of subject. I promise.
I am very grateful to our new agency, William Morris Endeavor, for their astounding efforts to make this recent tour so enjoyable and triumphant. No management, no label, no promotion … all that we have are fantastic ticket sales. Which means you. And there is no greater thing worth having.
I have the most magnificent live crew on the planet. If I said my thanks forever it would not be long enough.
Thank you also to Kristeen Young for dragging her make-up case up and down life's highways once again. The growing dedication of so many people who travel from city to city to follow the tour proves to me that now is better and stronger than the past. My admiration for those who refuse to miss a single concert is almost too emotive to voice. Words fail me.
Well. As the year dies, I return to England to prepare for the High Court circus of the NME case. Instead of simply saying "sorry" (for re-writing the answers to my last NME interview in 2007 in order to make me sound racist), the imperious NME would rather spend hundreds and hundreds of thousands of pounds in a High Court duel to the death. The fact that they have chosen a court drama over simply apologizing reinforces the notion that their original intent all along was to invent a sensation. So, here it is. And it is difficult to imagine anything more tragic from a magazine with such a gold-plated history. Of course, the court hearing itself will barely touch upon the actual 2007 interview, and will instead attempt to link my name to almost any unpleasant historical incident from the Irish potato famine to the murder of Medgar Evers. With the help of their giddy fan base at The Guardian newspaper, now is the NME's big chance to scorch me off the human map for good. And what a triumph that would be for them. What a proud and eternal boast.
Oh England, oh England - is this all you have to offer?
Just very softly
MORRISSEY
London, December 2011
Thank you for a fantastic US-Mexico tour. I am anchored, delighted, and pale with gratitude. The reception in Mexico was beyond words. No attempt to describe could do justice.
Most stirring of all:
1 CHICAGO, US
2 MEXICO CITY, Mexico (second night)
3 MEXICO CITY, Mexico (first night)
4 PUEBLA, Mexico
5 GUADALAJARA, Mexico (first night)
6 MONTERREY, Mexico
7 SANTA FE, US
8 LAS VEGAS, US
9 GUADALAJARA, Mexico (second night)
10 PHOENIX, US
BELLY FLOP: the Shrine, Los Angeles. When it goes wrong, it certainly goes wrong, and this venue is an open slum. Degradingly, the front of the hall is an orchestra pit so lowered that I found myself singing to a mass of hair. The people at the front - who possibly paid the most - were quite literally down a hole. It was embarrassing for me, and surely humiliating for them.
I stopped the show at the Royal Oak Theater in Michigan in consideration of the audience - who were being unashamedly assaulted by the in-house security. It is difficult to watch this happen, especially when our friends (such as Douglas) are being forcibly choked to death simply for being there. If such attacks happened at the opera or in a night-club, the victims would rightfully sue. Strangely, in-house security sense that they have freedom to manhandle patrons of 'rock' shows. I wonder why? You all know how to contact the Royal Oak Theater. The Head of Security at the Royal Oak was the one inflicting the most damage. He obviously thought he was still down at the abattoir - or wished he were.
We had been over-cautioned so continuously about dangers in Mexico, yet we met nothing at all but great support and warmth. The audiences were the most loving (and loud) that I have ever experienced. Everywhere we went people were very gracious, and eager to help. It was a dream tour, and we all felt that we were resolutely home, burdened only by the practicalities of wondering how soon we could return.
We all enjoyed the Conan O'Brien Show, especially after the sinking loss of the Jimmy Kimmel Show being dropped. We only had one other free night to do the show, so Jimmy asked his booked guests 'Lady A' if they would switch their slot so that we could fit in; but they refused. Oh.
I now no longer expect to live long enough to experience an offer to record for a grownup label. This topic would not sound quite so banal had I not mentioned it 47 times already. I promise I will not mention it again. The world, I expect, will somehow endure, even as the follow-up to 'Years of refusal' grows less and less likely. End of subject. I promise.
I am very grateful to our new agency, William Morris Endeavor, for their astounding efforts to make this recent tour so enjoyable and triumphant. No management, no label, no promotion … all that we have are fantastic ticket sales. Which means you. And there is no greater thing worth having.
I have the most magnificent live crew on the planet. If I said my thanks forever it would not be long enough.
Thank you also to Kristeen Young for dragging her make-up case up and down life's highways once again. The growing dedication of so many people who travel from city to city to follow the tour proves to me that now is better and stronger than the past. My admiration for those who refuse to miss a single concert is almost too emotive to voice. Words fail me.
Well. As the year dies, I return to England to prepare for the High Court circus of the NME case. Instead of simply saying "sorry" (for re-writing the answers to my last NME interview in 2007 in order to make me sound racist), the imperious NME would rather spend hundreds and hundreds of thousands of pounds in a High Court duel to the death. The fact that they have chosen a court drama over simply apologizing reinforces the notion that their original intent all along was to invent a sensation. So, here it is. And it is difficult to imagine anything more tragic from a magazine with such a gold-plated history. Of course, the court hearing itself will barely touch upon the actual 2007 interview, and will instead attempt to link my name to almost any unpleasant historical incident from the Irish potato famine to the murder of Medgar Evers. With the help of their giddy fan base at The Guardian newspaper, now is the NME's big chance to scorch me off the human map for good. And what a triumph that would be for them. What a proud and eternal boast.
Oh England, oh England - is this all you have to offer?
Just very softly
MORRISSEY
London, December 2011
woensdag 20 juli 2011
Morrissey @ Muziekgebouw Frits Philips Eindhoven | 5-8-2011
Morrissey - Muziekgebouw Frits Philips Eindhoven | 5-8-2011
Tickets are in the pocket...
Where?: Muziekgebouw Frits Philips.
Address: Heuvel Galerie 140, Eindhoven
When?: Friday, August 5, 20:15
Tickets: sold out
zaterdag 28 mei 2011
Bibliotheekinnovatie
Ik lees ergens op het blog van Edwin Mijnsbergen in de tekst het woord ’mistig’. Dat is het juiste trefwoord met betrekking tot innovatie.
Iedereen heeft de mond vol van innovatie. Het zingt rond in de bibliotheekwereld.
’INNOVATIE’ Dat klinkt in deze context al bijna als iets sacraals, iets mythisch!
Ik zit op dit moment meer te denken aan een synische aanpak. Zoiets als 'The Librarians and the Holy Innovation'.
We zijn op weg naar iets wat we nog nooit gezien hebben en waar we alleen van gehoord hebben.
Wat willen we bereiken? Willen we innoveren omwille van het innoveren?
Wie willen we dienen? Onze eigen organisatie?
Kijken we ook naar een grotere gemene deler?
Wat is anno 2011 innovatief? Waarom hanteren we de Aquabrowser nog? Waarom wordt OCLC de opdracht voor een catalogus gegund?
En inderdaad: wie bepaalt het tempo?
Achter de schermen gebeurt ongetwijfeld heel veel. Echter de bibliotheekmedewerkers zien daar vooralsnog niet al te veel van. Hun zorg is dat ze hun werk kunnen doen en de klant kan helpen.
De klant fronst de wenkbrauwen bij bij het zien van allemaal nieuwigheden in de bieb. Hij wil gewoon een boek lenen.
Ik ben niet negatief, maar wel heel benieuwd wat straks uit de hoge hoeden springt.
Stel dat er iets moois uit komt, dan ben ik heel blij en tevreden.
Komt er iets uit waar ik mijn twijfels over heb, dan... Ja! Wat dan?
Iedereen heeft de mond vol van innovatie. Het zingt rond in de bibliotheekwereld.
’INNOVATIE’ Dat klinkt in deze context al bijna als iets sacraals, iets mythisch!
Ik zit op dit moment meer te denken aan een synische aanpak. Zoiets als 'The Librarians and the Holy Innovation'.
We zijn op weg naar iets wat we nog nooit gezien hebben en waar we alleen van gehoord hebben.
Wat willen we bereiken? Willen we innoveren omwille van het innoveren?
Wie willen we dienen? Onze eigen organisatie?
Kijken we ook naar een grotere gemene deler?
Wat is anno 2011 innovatief? Waarom hanteren we de Aquabrowser nog? Waarom wordt OCLC de opdracht voor een catalogus gegund?
En inderdaad: wie bepaalt het tempo?
Achter de schermen gebeurt ongetwijfeld heel veel. Echter de bibliotheekmedewerkers zien daar vooralsnog niet al te veel van. Hun zorg is dat ze hun werk kunnen doen en de klant kan helpen.
De klant fronst de wenkbrauwen bij bij het zien van allemaal nieuwigheden in de bieb. Hij wil gewoon een boek lenen.
Ik ben niet negatief, maar wel heel benieuwd wat straks uit de hoge hoeden springt.
Stel dat er iets moois uit komt, dan ben ik heel blij en tevreden.
Komt er iets uit waar ik mijn twijfels over heb, dan... Ja! Wat dan?
dinsdag 21 december 2010
Ding 23
Ding 23 is een evaluatie van hetgeen ik de afgelopen tijd tegengekomen ben en geleerd heb:
Rob... Dank voor je prettige begeleiding, opbeurende woorden en leuke reacties!
- wat waren je favoriete Dingen die je onderweg hebt leren kennen en gebruiken?
De favoriete dingen werden logischerwijs beïnvloed door mij voorkeur voor muziek en beeldmateriaal. Ik heb Spotify beter leren kennen en gebruik dit nu bijna dagelijks. Veel van de 23 dingen kende ik al en gebruikte ik ook al een tijdje.
- wat heeft dit leerprogramma “gedaan” met jou en met de organisatie waar je werkt?
23 Dingen heeft nog eens een aantal toepassingen de revue laten passeren en eerder gemaakte keuzes (Picasa liever dan Flickr, Spotify liever dan Last FM, etc.).
Ik ben nog steeds niet overtuigd dat mijn mening er toe doet. Maar ik zal wel vaker iets posten op mijn blog.
Met de organisatie waar ik werk heeft het vooralsnog niet al te veel gedaan. Ik hoop dat binnen mijn organisatie meer mensen de 23 Dingen zullen afwerken. Wellicht dat we een aantal dingen als organisatie kunnen omarmen en/of inzetten bij ons dagelijks werk of als middel om onze doelgroep te bereiken (Hyves, Facebook, etc.).
- waren er dingen die je verrasten, als onverwacht resultaat van dit programma?
- wat kan er gedaan worden om 23 Dingen te verbeteren?
Zoals gezegd: 23 Dingen steekt naar mijn idee goed in elkaar. Het zal een kwestie zijn van alert blijven en kijken naar nieuwe toepassingen. Een taak die Rob Coers op het lijf geschreven is.
Meest gehoorde opmerking van mijn pupillen was: 'hoe ga ik al die logins en wachtwoorden onthouden?'. Los van het feit dat je kunt kiezen om dezelfde logins en wachtwoorden te gebruiken bij de verschillende toepassingen, kan een toepassing als LastPass misschien geïntroduceerd worden.
- En vul aan: “23 Dingen was voor mij …”
Rob... Dank voor je prettige begeleiding, opbeurende woorden en leuke reacties!
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